Anam Tariq

The Silent Triptych explores narratives which are woven through the three protagonists of the motherland i.e. The Nullah and Nadi (natural spillways), the Qabristan (graveyard), and the Jaryn (tree roots). The narrative itself is mapped through the formation of radical digital landscapes, containing within them the multiplicity of frames through possible scales present between the objects of this observed system Here, the motherland is a city that is born in the crucible of the post-colonial paradigm. It operates within a unique space crafted through imposed aggregated cells, where the subjugation of the terrain can be witnessed in a dichotomy between subjects and objects. This setting holds the potential for a profound recalibration and recategorization of the alienated ‘object’ present within the terrain of Islamabad. Here, the object's agency and its innate capacity produces an intriguing perspective into these recalibrations thus creating memories of the motherland, recounted by her beings. The sisters, Nullah and Nadi, speak of a space where a cradle is crafted within the land by itself. And within this crafted land are pigments which associate themselves in myriads of ways, changing their shape in every instance between the sisters. The second is the reverence of these bodies, exploring remembrance through materiality rather than the static matter. This is Qabristan, which lives in prosperity within the intimacy of an alien presence. The third are the native fables of the Jaryn. Connected through a rhizome, nameless and formless, their story is felt through the silence of time. These will be the moments of realisation where the objects cross paths, and within this convergence, their narratives lose their subjectivity. What are the untold narratives in these moments where no one can reside without the other?

About the Artist

Traditionally trained as an architect, Anam Tariq’s work manages to weave together rigorous research, compelling story telling and deep social engagement. Her Venice Biennale project (2023) gave voice to forgotten narratives from Pakistani migrant communities in Italy through “The City of Fabulous Creatures’; both analysing urban space and blending architectural documentation with imaginative fiction. This signature approach, first curated during her master’s thesis (2021) and which she also brought to her most recent exhibition “The Silent Triptych” (2025), where Islamabad is documented through its neglected infrastructures, treating graveyards and drainage channels as living archives, delving into critical urban theory.